DISCOG DISSECTION: Gojira - "The Evolution of a French Metal Titan"

Whilst admittedly, I am not the greatest fan of their output over the last decade, Gojira (hailing from Bayonne, France),  certainly carved a lasting impression upon my metal DNA during their 3 album run of “From Mars to Sirius”, “The way of all flesh” and “L’Enfant Sauvage”.  Indeed, over the subsequent years, Gojira have forged an amazing career for themselves, carving a unique niche in the world of heavy metal since their formation in 1996 and are arguably France’s greatest musical export.

As my musical tastes shifted, Gojira’s evolution and artistic ambition grew. Once revered for their intricate musicianship, environmentally conscious lyrics, and progressive style, over the last decade, we have seen Gojira shed their death metal skin in favour of melody and even accessibility, resulting in  what we see today, “The Evolution of a French metal Titan”. 

Check out my favourite Gojira albums below, let me know your thoughts, do you agree and how would you rate them?

7).

⚔️ “Fortitude” issued April 30, 2021

🩸 Stand out track(s) “Born For One Thing”, “Another World”, “New Found”, “Sphinx”, “Into The Storm”

6).
 
⚔️ “Terra Incognito” issued March 19th, 2001

 
🩸 Stand out track(s) “Clone”, “Lizard Skin”, “Deliverance”, “Rise”, “Fire is Everything”, “Love”

5).
 
⚔️ “Magma” issued June 17, 2016

🩸 Stand out track(s) “The Shooting Star”, “Silvera”, “The Cell”, “Stranded”, “Pray”, “Only Pain”

4).
 
⚔️ “The Link”, issued 18th April, 2003

 
🩸 Stand out track(s) “The Link”, “Death of Me”, “Remembrance”, “Embrace The World”, “Inward Movement”

3).
 
⚔️ “L’Enfant Sauvage” issued June 26, 2012

🩸 Stand out track(s) “Explosia”, “L’Enfant Sauvage”, “The Axe”, “Planned Obsolescence”, “Mouth of Kala”, “The Gift of Guilt”, “Pain Is a Master”

2).
 
⚔️ “The Way of all flesh” issued 10th June, 2008

🩸 Stand out track(s): “Ouroboros”, “Toxic Garbage Island”, “A Sight To Behold”, “Yama’s Messengers”, “All The Tears”, “Adoration of None”, “The Art of Dying”, “Esoteric Surgery”, “Vacuity”, “Wolf down the Earth”, “The way of all flesh”,

1).
 
⚔️ “From Mars to Sirius”, issued 27th September, 2005

🩸 Stand out track(s) “Ocean Planet”, “Backbone”, “From The Sky”, “Where Dragons Dwell”, “The Heaviest Matter of the Universe” “Flying Whales”, “In The Wilderness”, “To Sirius”
 

ALBUM REVIEW: High On Fire, "Cometh The Storm"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 19/04/2024
Label: MNRK Heavy

 
“Cometh The Storm” CD//DD//LP track listing:
 
1. Lambsbread
2. Burning Down
3. Trismegistus
4. Cometh the Storm
5. Karanlık Yol (instrumental)
6. Sol’s Golden Curse
7. The Beating
8. Tough Guy
9. Lighting Beard
10. Hunting Shadows
11. Darker Fleece
 
The Review:
 
Heavy music has a fine tradition of power trios. It’s a great format for a band to cut the fat and simply go for the throat- or to expand into free form jam territory. Thinking about power trios, there are bands of both types in most of heavy music’s sub genres; from The Jimi Hendrix Experience to Cream, to Motorhead, to the doomy likes of The Gates of Slumber, the extreme likes of Dying Fetus, to the epic likes of Manilla Road (80s vintage) and on and on.
 
With High On Fire firmly in the go-for-the-throat camp, their closest classic cousin is Motorhead. That’s not to say there is no room for extended guitar freakouts, winding instrumentals or laid-back vibes… but it’s at that Motorhead on steroids sweet spot that Mike Pike and friends really excel.
 
After losing powerhouse original drummer Des Kensel, the band recruited Coady Willis, toured to get him bedded in and then embarked on the follow up to “Electric Messiah”. Can the band cut it and deliver another pummelling feast of noisy pyrotechnics?
 
Well, with Kurt Ballou producing, this was always going to be a sonic war of an album. Since he hooked up with the band for “De Vermiis Mysteriis”, the band’s sound has got bigger and bigger. Jack Endino did a great job with “Death Is This Communion”, but it is Ballou that has made his sound synonymous with the band.
 
“Cometh The Storm” sounds massive. Huge. Crushing. Very noisy. Very heavy. Crystal clear, as well! Of the eleven tracks, the band run the gamut of their repertoire. The opener, “Lambsbread” is ferocious, heavy and absolutely primes you for what is to come. From there, you get heavy and epic (“Burning Down”), noisy (“Trismegistus”), dynamic and rhythmic AND crushing (the title track) and so on… In short, the band is firing on all cylinders here.
 
“Cometh The Storm” has, perhaps, more light and shade than “Electric Messiah”, less aggression than “Luminiferous” or “DVM”, but has similar features to all three of those records. This is, quite simply, very heavy stuff and right in my personal sweet spot for heavy music in general. There is a welcome return for the middle eastern sounds heard on “Death Is This Communion” (“Karanlik Yol”), which adds a nice diversion into the mix and varies the texture of the record nicely.

At eleven tracks long, this is no short sharp shock- the band spread their wings impressively on closer “Darker Fleece”, alongside the aforementioned title track and “Burning Down”. The band even revert to their more sludgy roots on “Sol’s Golden Curse”, while simply beating the listener senseless on “Tough Guy” and the aptly named “The Beating”.
 
“Lightning Beard” here is a great exercise in rhythmic beatdown, while “Hunting Shadows” allows some melody and hooks into proceedings. By the time of the ten-minute “Darker Fleece”, my ears are tired- this is a beastly sounding record. There are a few tracks which allow for respite, but- to draw a comparison- much like Judas Priest’s “Painkiller album”, this is as heavy as things get. It is just unbelievably weighty.
 
Where this sits in the High On Fire Discography will be revealed in time, but the band have never put a foot wrong and have pretty much gone from strength to strength with each record. Now at the quarter century mark, they show no signs of mellowing, slowing down or changing direction. Much like Motorhead, in fact. So, great songs, great sound, good variety, relentlessly heavy… business as usual and probably the album of the year.
 
“Cometh The Storm” is available HERE

Band info: Bandcamp || Facebook

ALBUM REVIEW: Sylosis, "A Sign of Things to Come"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 08/09/2023
Label: Nuclear Blast
 

“A Sign Of Things To Come” track listing:
 
1. Deadwood
2. A Sign Of Things To Come
3. Pariahs
4. Poison For The Lost
5. Descent
6. Absent
7. Eye For An Eye
8. Judas
9. Thorns
10. A Godless Throne
 
The Review:

Sylosis follow up 2020’s excellent “Cycle of Suffering” with this; have the British metal icons forged forward effectively? I first listened to the band back in 2015 with “A Dormant Heart”; an album I still hold in very high regard. I felt at the time- and still do- that Sylosis had cracked a very difficult code. They are a modern sounding band with a forward-thinking sound that won’t alienate old-schoolers (such as myself).
 
The band, for those that don’t know, combine thrash, death/melo-death, metalcore, groove metal and more traditional metal into a very effective alloy fit for almost any type of metalhead. It pleases me that they have (and have always had) the weighty backing of Nuclear Blast, but it pains me to consider that if, IF ONLY, the band were American then they might well be on a much higher level than they are. The Reading, Berkshire, UK, crew are instead at a level above underground and cult- but not at the large theatre/arena level they deserve.
 
UK metal- and metal in general- needs bands that look forward as well as back and Sylosis fit that bill. As such, then, you’ll hear synths and layers of sound across the title track, along with hardcore infused vocals, clean singing and huge riffs. The playing and performances are on point right out of the gate; “Deadwood” is a very effective opener, distilling what the band do well into four and half minutes.
 
The album continues at a very high watermark; “Pariahs” is heavy as hell, grooves massively, and hits all the right spots for a pit to go insane to. The record sounds incredible; massive and thick, precise and streamlined. Once again, the band combine handily the best bits of Machine Head, Lamb of God, Pantera, Fear Factory and so on into their own sound.
Stand outs? I’d probably pick “Poison For The Lost” as a real high point; it thrashes extremely convincingly with real malice and spite injected into the vocals and playing. This is metal as it should be; fast, furious and laser-honed.
 
Incredibly, the band are six albums in here. The level of experience and confidence shows throughout. The band don’t put a foot wrong in terms of song writing, production or performance. Band main-man Josh Middleton has been at this for over two decades now and he is a master of his craft. The band even ring the changes with the track “Absent”; a kind of synth-scape ballad that gives way to a more metallic section. It’s cinematic and daring, showing what the band can do when they spread their wings. More typical service is resumed with “Eye For An Eye” as the band puts the pedal and metal to the, er, metal once again- but not forgetting their sense of melody throughout the song.
 
As noted on previous records, things are focused and lean throughout; ten songs only, nothing too bloated and most clocking the 3.5-4.5min playing time. The riffs of “Judas” have a kind of ‘doom but sped up’ feel and the dark vibe that it gives off is great. Naturally, speed also kills on this one. Great track.
 
“As Thorns” and then the epic closer “A Godless Throne” bring this excellent record to an end, I can’t help but ponder the state of the metal genre in 2023. The arena filling likes of Maiden and Metallica may be on the way out, but with bands like Sylosis around, the genre is not going away. The fact is, to many metallers younger than me THIS IS the sound of metal. Not Priest, Maiden, Sabbath et al, but instead bands like Sylosis who have cherry picked the best aspects of various metal sub genres and then come full circle to be defined as, simply, METAL. Yep, Sylosis are a METAL band- and they are the best modern metal band in the UK. Easily.  
 
“A Sign of Things to Come” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Alter Bridge, "Pawns & Kings"

By: Richard Maw
 
Album Type: Full Length
Date Released: 14/10/2022
Label: Napalm Records

“Pawns & Kings” CD//DD//LP track listing:
 
1. This Is War
2. Dead Among The Living
3. Silver Tongue
4. Sin After Sin
5. Stay
6. Holiday
7. Fable Of The Silent Son
8. Season Of Promise
9. Last Man Standing
10. Pawns & Kings
 
The Review:

Alter Bridge are now one of a very few select rock acts who hold arena headlining status- or at least one of the few who have existed for less than twenty years- there is no shortage of should-be-retired-bands around. On that basis, I greet every release of theirs with interest as they represent a gateway to harder rock and metal as well as being a fine band in their own right. They have a surprising breadth of styles within their sound- from soaring melodies to thrashing riffs- all delivered with a slick production sheen that is ready made for rock radio and arena stages.
 
“Pawns & Kings” is their seventh studio effort since their 2004 debut- testament to their work ethic. It is also much more focussed than recent outings. There are ten tracks here- a proper album length! After some poppier diversions on “The Last Hero” and synth-ier diversions on “Walk The Sky”, the band are back to what they do best here: guitar pyrotechnics, rock songs, rock sounds.
 
This is easily the best AB album since “Fortress” and sits nicely alongside their holy trinity of “Blackbird”, “AB III” and “Fortress”. The album starts pretty heavy with “This is War” and the band makes use of the thrashier leanings of Mark Tremonti on “Silver Tongue” with its lightning fast riffage and time changes. Even on the slower material- such as “Sin After Sin”- the band sound darker and more focussed than they have for some time.
 
In terms of musicianship, the drumming from Scott Philips is excellent throughout- varied, great use of the kit and some tasteful double pedal work here and there. It blends seamlessly with the bass of Brian Marshall and the two together form a distinctive rhythm section that sound fluid no matter what the tempo. The guitar work- as per- is sublime. In Myles Kennedy the band have a frontman with a golden voice- no signs of deterioration whatsoever even in his 50s.
 
The band still have some melodic syrup too- “Stay” is slick and sweet in equal measure and closed the first half of the album. Side two kicks off with a pretty belting rocker in the form of “Holiday”, though. From there, it is more melody and less foot on the pedal. However, the likes of “Season of Promise” and “Last Man Standing” are well crafted songs; with no shortage of solos and riffs. The title track closes this impressive selection of songs in some style. The band have a knack for strong title tracks and this is no exception. It’s dark, varied, anthemic and essential Alter Bridge.
 
Overall, then, this is strong throughout and an impressive return to the kind of dark heavy rock that the band do best. Indeed, everything good about the band is to be found over the course of these ten tracks and “Pawns & Kings” is easily up there with the best in AB’s catalogue.
 
“Pawns & Kings” is available now

Band info: Official

ALBUM REVIEW: Zakk Sabbath, "Vertigo"

By Richard Maw

Album Type: Full Length
Date Released: 04/09/2020
Label: Magnetic Eye Records

 

“Vertigo” CD//LP track listing:

1. Black Sabbath
2. The Wizard
3. Wasp / Behind the Wall of Sleep / N.I.B
4. Wicked World
5. A Bit of Finger / Sleeping Village / Warning

The Review:

It seems from “the internet” that this release is viewed as somewhat controversially... I really don't know why, as it is Zakk Wylde- ably supported by Blasko (bassist) and Joey Castillo (monster drummer)- roaring through the Sabbath debut in its entirety (with the US album track “Wicked World” present) in a pretty live-in-the-studio presentation. The release, as far as I can tell, is an affectionate homage to the band and Zakk's sometime boss and it is delivered convincingly. With Wylde being the de facto Ozzy guitarist post-Randy with the longest tenure, it's really not much of a stretch for him to claim lineage in the Sabbath family tree- and beyond Iommi, Zakk is the guitar player most closely associated with Ozzy still alive today.

In case anyone has forgotten, Wylde was/is a highly regarded player with a phenomenal picking hand and a very memorable and identifiable playing style. Vocally, Zakk imitates Ozzy convincingly- with a lower register and a touch more grit. The sound is wonderful; it's warm and live and raw and sounds like... a band playing together. What a refreshing change!

The playing is, of course, rock solid from the rhythm section and Zakk's guitar playing is very much on form. The title track is delivered with real fire and then it's onto more deep cut material. I assume it's Zakk playing harmonica on “The Wizard” (Wylde has already covered this one on the 2^nd Pride and Glory disc many years ago). It's a storming rendition and Castillo gets many bonus points for adding in the solitary cowbell strike that Ward graced the original recording with. In fact, its faithful touches like this which show the record for what it is: big Sabbath fans paying tribute to the original gods- as the promo notes say- as a COVER BAND. Its fun, it's enthusiastic and it rocks really hard.

The other songs on here are delivered just as well and have lost none of their ageless power; “Behind The Wall of Sleep”, “N.I.B” and “Wicked World” are just fantastic. We are spared the odd Crow cover of “Evil Woman”- serviceable on the original album but the weakest piece of music therein.

It's no secret that the first few Sabbath albums are all time classics, but hearing the songs played by other world class musicians just reminded me of their power and vitality. In the history of heavy music there are few bands to rival Sabbath's six album  run (and of course the Dio, Ian Gillan and Tony Martin eras all have a huge amount of classic material too) and hearing this gallop through their debut only served to remind me just how good the debut is/was. The list of other bands with a catalogue even close is small... well, you've got your own opinion as to who! Beyond the biggest of bands (Maiden, Metallica, Priest... slim pickings thereafter), it's a small list and mostly confined to sub-genres.

It's widely accepted that Sabbath created metal- yes, there are internet dwellers who argue for Blue Cheer (sigh), Hendrix (no- although godlike; not metal), Led Zeppelin (hard rock and more but not metal) and even some who claim that Sabbath were not metal at all and that instead Judas Priest were the first metal band- and then only with the release of “Sad Wings of Destiny” due to its dual guitars and higher tempos (Priest innovated the genre in the 70s, but did not invent it- come on, now!). These people are all wrong, obviously: Sabbath were the first metal band. To hear the Sabbath debut- or even this re-recording- is to hear metal explode from the womb and show its teeth.

One question that can certainly be levelled in accusatory fashion at this release is: what is the point?!  It isn't a “reinterpretation” a “reimagining” or anything else; it's just a solid and inspired run through the most significant debut in metal history.

By the time I reached the closing fifteen minute suite of “A Bit of Finger/Sleeping Village/Warning”, I was already planning to play the Sabbath back catalogue as soon as possible just to reacquaint myself with its unearthly power. Well, I think the question is answered; it'll have you digging out all those  Sabbath albums from the 70's and beyond. It's a wonderful tribute to and acknowledgement of the most important metal debut of all time. No more and no less.

“Vertigo” is available HERE

Band info: facebook

ALBUM REVIEW: Body Count, "Carnivore"

By: Richard Maw

Album Type: Full Length

Date Released: 06/03/2020

Label: Century Media Records

“Carnivore” CD//DD//LP track listing:

1). Carnivore

2). Point The Finger

3). Bum-Rush

4). Ace of Spades

5). Another Level

6). Colors

7). No Remorse

8). When I’m Gone

9). Thee Critical Breakdown

10). The Hate Is Real

Tbe Review:

Body Count and Ice-T are back with another full length, 2017's “Bloodlust” was a good album, as was “Manslaughter” from a year or two before that. “Carnivore” continues the metal and hardcore hybrid with, of course, the street level vibe and attitude you'd expect from a man first known as a rapper and then an actor.

The title track is hard as nails, “Point The Finger” is a Hatebreed-esque blast of nastiness directed against the police- presumably of the US. The production is once again stellar. Thick guitars and bass, drums compressed and brutal through the triggers. “Bum-Rush” is a revved up hip hop track, rhythmically, with plenty of wailing leads and political lyrics- the kind of thing Ice-T excels at, pretty much.

For a man in his 60s to still be this angry makes me wonder just what Ice thinks about the current Coronavirus pandemic and the injustice of it. Maybe the next album will tell us? At track 4 is a real curve ball... a cover of “Ace of Spades”! If “Raining Blood” on “Bloodlust” was triumphant, well this is pretty much the same. It helps that it's one of the best songs ever written- any genre- and also that Ice has a connection with Lemmy and Motorhead having appeared on a version of “Born To Raise Hell” for the Airheads soundtrack. The themes are right up Ice's street, so it works. A respectful and successful homage.

Jamey Jasta pops up for “Another Level” in a solid and different guest vocal, while the track is moody and dark- not all righteous fury. Next up is the Ice-T classic “Colors”- given a 2020 makeover. Many metalheads of the 90s will recall the Machine Head cover of this track as a bonus on “The More Things Change”- which was a straight hip hop cover. This is a metallic version of the same song. It's a hip hop classic and, much like the “Ace of Spades”, it works in any setting as it's a strong song!

The atonal and chugging “No Remorse” follows and is a more lunkheaded take on wilful self-determination than, say, Suicidal Tendencies would come up with. It's a rare weaker track. Amy Lee pops up for “When I'm Gone” after a heartfelt intro from Ice about the origins of the song. For me, this is not the style I listen to Body Count for- the riffage is again dull and chugging. Fortunately, “Thee Critical Beatdown” is much more like it- old school Body Count and values in full effect. It's a banger and sounds exactly how you want it to. The late-album lull is thus ended.

Band info: facebook

ALBUM REVIEW: High On Fire, "Electric Messiah"

By: Richard Maw

Album Type: Full Length

Date Released: 05/10/2018

Label: eOne Heavy

Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power.  

“Electric Messiah” CD//DD//2LP track listing:

1. Spewn From the Earth
2. Steps of the Ziggurat/House of Enlil
3. Electric Messiah
4. Sanctioned Annihilation
5. The Pallid Mask
6. God of the Godless
7. Freebooter
8. The Witch and the Christ
9. Drowning Dog

The Review:

At this point, High on Fire are nothing less than underground metal royalty. The ferocious power that the trio exude leads to inevitable Motorhead comparisons- not only that, but the comparisons are actually apt. With HOF you know what to expect and their records deliver what the fans want... even if the band has been developing and progressing from album to album.

Kurt Ballou returns as producer for the third time and the sound and performances are as mighty as we have come to expect. The opening speedball of “Spewn from the Earth” is what the band do best: balls to the wall, take your head off, axe wielding fury. Pike, Matz and Kense  play fast, tight (but loose) and with so much fire. It's breathtaking stuff. The band can do epic just as well; “Steps of the Ziggurat/House of Enlil” is over nine minutes of very weighty sounds. It's tribal in its sound and focus, huge in sound and zealous in its pursuance of bludgeoning power- no matter which section of the track the band moves through. From there on, the scene is set and the band deliver an absolute tour de force of dirty, greasy rock n roll. The title track is feral, the second epic- “Sanctioned Annihilation”- is a brutal exercise in dynamics, endurance and volume.

Really, that is the key to High On Fire's appeal: they provide an almost alchemical sound in that they take the straightforward  approach and push it to the max. Riffs? Huge and drilled into the listener's ears. Drums? Played with animalistic fervour and power. Bass? Distorted and maxed out. Solos? Wild and emotive. Vocals? Vicious and snarling. There is no let up, no backward step. There is only volume, aggression and power. 

The second half of the album is no less powerful or masterful. There is some melody, on “The Pallad Mask”, for instance- but again the key here is the straightforward approach embodied in the likes of “God of the Godless”. You can feel the force of this stuff through the speakers; it's just elemental and percussive on every level. The band have honed their style and gone more metallic, perhaps, over the years and away from the stoner grooves of earlier works but this has only made them more effective. Just have a listen to “Freebooter” and name one band doing this type of thing at the same level.

The final two tracks both push over the six and a half minute mark and while “The Witch and the Christ” showcases the more rhythmic facets of the band's sound, it is still desperately heavy. “Drowning Dog” introduces an almost maudlin sound to the riffing before swinging like a baseball bat and provides an expert finish to this superbly vicious record.

“Electric Messiah” is certainly up there with the band's best work and further elevates Matt Pike's deity status within the scene. For my money, this knocks Pike's other band's release of this year into a neatly cocked hat. It's just so... adrenaline inducing. It reminds me of why I got into metal in the first place: unadulterated exhilaration. A tour de force, in every sense of the term.

“Electric Messiah” is available here

Band info: bandcamp || facebook

ALBUM REVIEW: Uniform & The Body, "Mental Wounds Not Healing"

By: Dominic Walsh

Album Type: Full Length

Date Released: 08/06/2018

Label: Sacred Bones Records

Mental Wounds Not Healing” is a phenomenally heavy 27 minutes of music. Throughout the seven tracks, there are some extremely harsh vocals, mountainous droning guitar riffs and glitchy distorted beats.  This record is well worth your time if you like having your boundaries of music tested.

“Mental Wounds Not Healing” DD//LP track listing:

1). Dead River

2). The Curse of Eternal Life

3). Come and See

4). The Boy With Death in His Eyes

5). In My Skin

6). We Have Always Lived in the Castle

7). Empty Comforts

The Review:

With a title taken from an Ozzy Osbourne lyric (“Crazy Train”), Uniform and The Body have joined forces for a collaboration that pushes both bands far beyond their roots in industrial music and metal - creating an immersive listening experience that truly transcends genre. 

“Mental Wounds Not Healing” is a phenomenally heavy 27 minutes of music. Throughout the seven tracks, there are some extremely harsh vocals, mountainous droning guitar riffs and glitchy distorted beats. Think NIN, Einstürzende Neubauten, Sunn 0))) and bits of Ministry mixed together with Pharmakon and Blanck Mass. It’s a complete maelstrom of industrial noise throughout.

Most of the song titles are culled from horror literature and cinema. “The Boy With Death In His eyes” is a particular highlight at the midpoint of the album. The beat is more orthodox, and the distorted synthesizers and guitars that accompany the beat create a dark, tension filled backdrop to the despairing vocals.

“In My Skin” contains a particularly unnerving screaming sound throughout the entire track, but the track also contains one of the most notable guitar melodies that spins its web around more twisted and distorted noise. As you disappear down the hole of this track, the ending of the track feels almost serene against many other parts of the song, but don’t be fooled into thinking this is full of lush melodies! “Dead River” also has the same screaming motif that runs throughout the track. It takes you wonderfully out of your comfort zone.

“We Have Always Lived in a Castle” is pure drone. “Empty Comforts” and “The Curse of Eternal Life” are the most NIN style moments on the album as the electronic beats are clear and punchy, but the former really lacks any kind of recognisable rhythm; like a heartbeat with no real idea of what it is doing. The guitars again convene towards the end of “Empty Comforts” to show that this collaboration is not simply about making a glorious racket; there is melody rooted deep within this album – you just have to have the endurance to stick around to find it. “Mental Wounds Not Healing” is well worth your time if you like having your boundaries of music tested.

“Mental Wounds Not Healing” is available here

Band info: facebook || facebook